Mark (Karl
Boehm) is a film technician/sound man who moonlights by photographing beautiful,
nude models.However, Mark is less than normal.He has a growing fascination with the natural, physical
imperfections of his models and begins killing his models with a spiked tripod,
capturing the exact moment of their deaths on film.Due to a twisted childhood, caused by his equally twisted and
sadistic, psychologist father (played by director Michael Powell), Mark
painstakingly documents the killings and the ensuing police investigations.

You see, Mark’s childhood was spent as the
subject of fear experiments and non-stop audio taping by his father, who must
have attended medical school while taking Mescaline.Their house was a network of microphones, recorders and cameras, which
documented every single minute of Mark’s day.Now as a grown-up, Mark rents out rooms in his house and similarly
documents the lives of his tenants, not unlike the recent film Sliver.Does the blind tenant know what Mark is up to?When the police begin to close the dragnet around Mark, can he create the
ultimate artistic act of photographic verité?

Peeping Tom

1960

Peeping Tom was basically a lost film after
its release in 1960.It was rarely
seen, and even then, only in midnight showings and on late-night television.We have Martin Scorcsese to thank for giving rebirth to Peeping Tom by
re-releasing it into theaters in 1980.Like
Todd Browning with Freaks, Peeping Tom ended the career of Michael Powell who
had previously directed such classics as The Red Shoes and The Thief of Bagdad.At least Powell had the satisfaction of ending his career on
a high note and on such a personal film.As
The Phantom of The Movies suggests, Peeping Tom is more than a thriller, it is a
satirical jab at commercialism in cinema and more importantly, the voyeuristic
tendencies of both filmmakers and film viewers.We at the House highly recommend that you see this film!---DRIVE
IN NATE

Aseries of
gruesome murders has brought Miami to a screeching halt as women
are being viciously mutilated by a homicidal madmen. Strangely missing
from the victims are certain body parts or limbs. The police remain
baffled as they search for clues to stop this brutal killer while across
town Mrs. Fremont (Lyn Bolton) enters the shop of one, Fuad Ramses (Mal Arnold), exotic
cater. Looking to surprise her daughter Suzette (Connie Mason), Ramses
promises to provide Mrs. Fremont with an authentic ancient Egyptian feast, one that he has
been planning for a long time.

As the murders continue, Connie and her
would-be boyfriend Detective Peter Thornton (William Kerwin) attend a lecture
being giving on Egyptian cults. There they learn the grime details of
an ancient blood ritual performed to celebrate the goddess, Ishtar, 5000 years ago.
As they prepare to depart news blares across the airwaves regarding a possible survival from this murderous rampage. Peter races
across town to
the hospital hoping for a clue only to hear the dying words of the victim,
repeated "Etar, Etar".

Blood Feast

1963

As Mrs. Fremont makes final preparations
for her daughter's party, the violence strikes closer to home
as Suzette's friend Trudy mysteriously disappears. All the
while Ramses continues to prepare for the feast. Finally, Peter puts the
pieces together, but will he arrive in time to prevent Suzette from
becoming the main course??

After a successful run of nudie cuties,
Lewis and his partner David Friedman were itching for a change of
pace. In 1963 born out of the tradition of the "Grand Guignol",
19th century theater rooted in a gore-filled desire to shock and repulse
its' audience, came the release of a little gem called, "Blood
Feast", which would alter the face of cinema as the world would know
it. Variety magazine offered its own review of the film
calling it "incredibly crude and unprofessional from start to finish,
(and) an insult even to the most puerile and salacious audience", but
the joke was on them as "Blood Feast" would go on to
establish a new genre (splatter or gore) while taking exploitational
filmmaking down a new and exciting path and forever shaping the impressionable
minds of millions of budding filmmakers. All modern filmmakers,
horror and mainstream alike, own a tremendous debt of gratitude to the
chances that a film like "Blood Feast" took in
breaking down the
barriers of the 50's McCarthyism way of thinking. This film is a definite
requirement for any inspiring horror fanatic!!!!

A simple detour
down a backwoods road leads six unsuspecting Yanks into the little town of Pleasant Valley (Pop.
2000), where a centennial celebration of some sort is taking place.
As they pull into town, the massive party spills around them and Mayor
Buckman (Jeffery Allen) declares that the "guests of honor"
have finally arrived and the festivities can now begin.

After being put up in the best
(and only) hotel in town, bizarre events start happening. First, the frisky Bea Miller (Shelby Livingston ) meets her
gruesome demise when she sneaks off for a lover's stroll with the debonair
Harper (Mark Douglas). Later her equally promiscuous husband John
(Jerome Eden) is quartered after a night of feasting on a strangely
tasty barbeque. Tom White (William Kerwin) and his traveling
companion Terry Adams (Connie Mason) starts to become suspicious when they
are unable to make contact with the outside world and stumble upon a plaque
marking the historic ramification of this celebration of blood. The
carnage reaches new heights when a teetering rock and a barrel roll
are introduced into mix.

Two Thousand
Maniacs

1964

When the truth is finally revealed, Tom
and Terry attempt to make a mad dash for freedom. They solicit the help of
local bad boy Billy to recover their car, but will they be able to escape
this town bent on blood thirsty revenge or is the South gonna rise
again???? Check it out!!!!!

Following in the highly successful
footsteps of "Blood Feast" a year earlier "Two Thousand
Maniacs" became the second film
in Herschell Gordon Lewis' Blood Trilogy. Built on a stronger
storyline, a combination of "Brigadoon" meets
the Mansion Family, a larger budget (3 times that of "Blood
Feast"), and superior acting (featuring the fine citizens of the now extinct
St. Cloud, FL), "Two Thousand Maniacs" is by far my favorite H.G.
Lewis film. The wildly outrageous ways in which this town of blood thirsty
maniacs disembowels their unsuspecting "guests of honor" is
truly a goremiester's wet dream and comes in a close second only to Lewis'
own "Wizard of Gore" on the entrail scale.

Trivia question, "Who is the most portrayed horror villain in cinema
history"? If you guessed "Count Dracula" you would be correct. As a
credited character, "Count Dracula" has appeared in more than 60 films. Second trivia question,
"Who has portrayed "Count Dracula" the most times on the silver
screen"? If you guessed Christopher Lee, you would be correct again. Christopher Lee
has played "Count Dracula" ten times to date with seven of those being in
Hammer Films. So where did it all start? In the film "Horror
of Dracula" , Christopher Lee assumes the
role that will forever change his life. Although his performance may not be accepted as
the definitive standard for the role (that honor would have to go to "Bela
Lugosi"), he was able to give him more depth. This film also marked Peter
Cushing's
first-time duties as legendary vampire hunter, Dr. Van Helsing. Cushing, a mainstay
at Hammer, went on to play the good Dr. opposite Lee's "Dracula" in three films
(and also in a few other Hammer films), but Baron Von Frankenstein was role he reprised an
amazing six times.

This is your standard retelling of
Bram Stoker's classic novel "Dracula",
with a definite Hammer twist. It is probably my favorite film version of Stoker's novel,
although I thoroughly enjoyed Francis Ford Coppala version, as well as, that of Tod
Browning's. My favorite part is the end battle between Cushing and Lee. It is one of the
best all-time classic clash in the history of horror, ranking right up there with
"The Exorcist's" conclusion.

Terence Fisher, the director of
this film and other classics such as "Dracula: Prince of
Darkness", "Curse of the
Werewolf" and "The Devil Rides Out",
did a wonderful job with the vision and atmosphere of the film. This film
marked his emergence as one of Hammer's big time directors. Fisher, along with Lee,
firmly established "Dracula" as a British film legend. The musical
undertones were deliver by James Bernard and really added to films' eerie
atmosphere